Father of Egyptian Popular Music"},"birth_date":{"wt":"{{Birth date|df=yes|1892|3|17}}"},"origin":{"wt":"[[Alexandria]],Egypt"},"death_date":{"wt":"{{Death date and age|df=yes|1923|9|15|1892|3|17}}"},"death_place":{"wt":"Alexandria,Egypt"},"instrument":{"wt":"Vocals,[[oud]]"},"genre":{"wt":"Egyptian music"},"occupation":{"wt":"Singer,songwriter,record producer,musician"},"years_active":{"wt":""},"label":{"wt":""},"website":{"wt":""},"current_members":{"wt":""},"past_members":{"wt":""}},"i":0}}]}" id="mwCw">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}
Sayed Darwish السيد درويش البحر | |
---|---|
![]() Sayed Darwish in 1920s | |
Background information | |
Also known as | The Father of Modern Arab Music [1] Father of Egyptian Popular Music |
Born | 17 March 1892 |
Origin | Alexandria, Egypt |
Died | 15 September 1923 31) Alexandria, Egypt | (aged
Genres | Egyptian music |
Occupation(s) | Singer, songwriter, record producer, musician |
Instrument(s) | Vocals, oud |
Sayed Darwish (Arabic : سيد درويش, IPA: [ˈsæjjeddæɾˈwiːʃ] ; 17 March 1892 – 14 September 1923) was an Egyptian singer and composer who was considered the father of Egyptian popular music and one of Egypt's greatest musicians and seen by some as its single greatest composer.
Sayed Darwish was born in Alexandria on 17 March 1892. During his childhood his family could not afford to pay for his education, so he was sent to a religious school where he mastered the recitation of the Quran, studying under Muhammad Salamah. After graduating from the religious school and gaining the title Sheikh Sayyed Darwish, he studied for two years at al-Azhar, one of the most renowned religious universities in the world. He left his studies to devote his life to music composition and singing, then entered a music school where his music teacher admired his talents and encouraged Darwish to press onward in the music field.
Darwish at that time was also trained to be a munshid (cantor). He worked as a bricklayer in order to support his family, and it so happened that the manager of a theatrical troupe, the Syrian Attalah Brothers, overheard him singing for his fellows and hired him on the spot. While touring in Syria, he had the opportunity to gain a musical education, short of finding success. He returned to Egypt before the start of the Great War, and won limited recognition by singing in the cafés and on various stages while he learned repertoire of the great composers of the 19th century, to which he added ʾadwār (musical modes) and muwashshaḥāt (Arabic poetic-form compositions) of his own. In spite of the cleverness of his compositions, he wasn't to find public acclaim, disadvantaged by his mediocre stage presence in comparison with such stars of his time as Sâlih 'Abd al-Hayy or Zakî Murâd. [2]
After too many failures in singing cafés, in 1918 he decided to follow the path of Shaykh Salama Hegazy, the pioneer of Arabic lyric theater and launched into an operatic career. He settled in Cairo and got acquainted with the main companies, particularly Naguib el-Rihani (1891–1949), for whom he composed seven operettas. This gifted comedian had invented, with the playwright and poet Badie Khayri, the laughable character of Kish Kish Bey, a rich provincial mayor squandering his fortune in Cairo with ill-reputed women... The apparition of social matters and the allusions to the political situation of colonial Egypt (the 1919 "revolution") were to boost the success of the trio's operettas, such as "al-'Ashara al-Tayyiba" (The Ten of Diamonds, 1920) a nationalistic adaptation of 'Blubeard".
He became associated with the early Egyptian modernist literary movement Al-Madrasa al-Ḥaditha . [3]
Sayed also worked for El Rihani's rival troupe, 'Aly El Kassar's, and eventually collaborated with the Queen of Stages, singer and actress Munîra al-Mahdiyya (1884–1965), for whom he composed comic operettas such as "kullaha yawmayn" ("All of two days", 1920) and started an opera, "Cleopatra and Mark Anthony", which was to be played in 1927 with Muhammad 'Abd al-Wahhâb in the leading role. In the early twenties, all the companies sought his help. He decided to start his own company, acting at last on stage in a lead part. [4] His two creations ("Shahrazad' and "El-Barouka", 1921) weren't as successful as planned, and he was again forced to compose for other companies from 1922 until his premature death on 15 September 1923.
Darwish's stage production is often clearly westernized: the traditional takht is replaced by a European ensemble, conducted by il Signore Casio, Darwish's maestro. Most of his operetta tunes use musical modes compatible with the piano, even if some vocal sections use other intervals, and the singing techniques employed in those compositions reveal a fascination for Italian opera, naively imitated in a cascade of oriental melismas. The light ditties of the comic plays are, from the modern point of view, much more interesting than the great opera-style arias. A number of those light melodies originally composed for Egyptian movies or theater are now part of the Egyptian folklore. Such songs as "Salma ya Salama", "Zorouni kol sana marra" or EI helwa di amet te'gen" are known by all Middle-Easterners and have been sung by modern singers, such as Fairuz and Sabah Fakhri, in re-orchestrated versions. Aside from this light production, Sayed Darwish didn't neglect the learned repertoire, he composed about twenty muwashshahat, often played by modern conservatories and sung by Fairuz. But his major contribution to the turn-of-the-century learned music is better understood through the ten adwâr (long metric composition in colloquial Arabic) he composed. [5]
Whereas in the traditional aesthetics defined in the second part of the 19th century, the dor was built as a semi-composition, a canvas upon which a creative interpreter had to develop a personal rendition, Darwish was the first Egyptian composer to reduce drastically the extemporizing task left to the singer and the instrumental cast. Even the "ahât", this traditionally improvised section of sighs, were composed by Darwîsh in an interesting attempt of figuralism. Anecdotic arpeggios and chromaticism were for his contemporaries a token of modernism, but could be more severely judged nowadays.
Sayed Darwish was personally recorded by three companies: Mechian, a small local record company founded by an Armenian immigrant, which engraved the Shaykh's voice between 1914 and 1920; Odeon, the German company, which recorded extensively his light theatrical repertoire in 1922; Baidaphon, which recorded three adwâr around 1922. His works sung by other voices are to be found on numerous records made by all the companies operating in early 20th-century Egypt.
Darwish believed that genuine art must be derived from people's aspirations and feelings. In his music and songs, he truly expressed the yearnings and moods of the masses, as well as recording the events that took place during his lifetime. He dealt with the aroused national feeling against the British occupiers, the passion of the people, and social justice, and he often criticized the negative aspects of Egyptian society.
His works, blending Western instruments and harmony with classical Arab forms and Egyptian folklore, gained immense popularity due to their social and patriotic subjects. Darwish's many nationalistic melodies reflect his close ties to the national leaders who were guiding the struggle against the British occupiers. His music and songs knew no class and were enjoyed by both the poor and the affluent.
In his musical plays, catchy music and popular themes were combined in an attractive way. To some extent, Darwish liberated Arab music from its classical style, modernizing it and opening the door for future development.[ citation needed ]
Besides composing 260 songs, he wrote 26 operettas, replacing the slow, repetitive, and ornamented old style of classical Arab music with a new light and expressive flair. Some of Darwish's most popular works in this field were El Ashara'l Tayyiba, Shahrazad, and El-Barooka. These operettas, like Darwish's other compositions, were strongly reminiscent of Egyptian folk music and gained great popularity due to their social and patriotic themes.
He composed 10 dawr and 21 muwashshat which became classics in the world of Arab music. His composition "Bilaadi! Bilaadi!" (My Country! My Country!), that became Egypt's national anthem, and many of his other works are as popular today as when he was alive. in the modern Middle East.
The life of the Sayed Darwish ended on 10 September 1923 at the young age of thirty-one. There are many accounts of the cause of his death, including that he died of an overdose of drugs, but his grandchildren have denied that story based on a letter in his handwriting in which he tells his friend that he stopped going out and staying up late with everything that accompanied that, with a tone of warning. Grandchildren also relied on what was mentioned in Badi' Khairi's memoirs—that Sheikh Sayed Darwish quit drugs. They use as further evidence his songs that advise the people to stay away from drugs. [6]
At the age of 30, Darwish was hailed as the father of new Egyptian music and the hero of the renaissance of Arab music.[ citation needed ] Journalist and historian Samir Kassir credited Darwish specifically with having "brought in completely new orchestration" to Arab music, thereby modernizing the genre. [7]
He is still very much alive in his works. His belief that music was not merely for entertainment but an expression of human aspiration imparted meaning to life. [8] He is a legendary composer remembered in street names, statues, a commemorative stamp, an Opera house, and a feature film. He dedicated his melodies to the Egyptian and pan-Arab struggle and, in the process, enriched Arab music in its entirety.
The Palestinian singer and musicologist, Reem Kelani, examined the role of Sayyid Darwish and his songs in her programme for BBC Radio Four entitled "Songs for Tahrir" about her experiences of music in the uprising in Egypt in 2011. [9]
On 17 March 2011, Google celebrated Sayed Darwish's Birthday with a doodle. [10]
Darwish put music to the Egyptian national anthem, "Bilady, Bilady, Bilady", the words of which were adapted from a famous speech by Mustafa Kamil.
Coincidentally, on the day of his death, the national Egyptian leader Saad Zaghloul returned from exile; the Egyptians sang Darwish's new song "Mesrona watanna Saaduha Amalna", another national song by Sayed Darwish that was attributed to "Saad" and made especially to celebrate his return.
Original Title | Translation | Notable Performer(s) |
---|---|---|
Aho Da Elly Sar | That's What Happened | Fairuz Ziad Rahbani Ali El Haggar |
Ana Ashe't | I Fell in Love | Zakaria Ahmed |
Ana Hawet Wa Ntaheit | I Loved And I'm Done | Sayed Darwish Mohamed Mohsen Mohamed Abdel Wahab Massar Egbari |
El Bahr Byedhak Leh | Why Is The Sea Laughing | Mohamed Mohsen Sheikh Imam |
Bilady, Bilady, Bilady | My Country, My Country, My Country | Mohamed Abdel Wahab Sherine |
Al Bint Al Shalabiya | The Shalabiya Girl | Fairuz Pink Martini |
Bint Misr | The Egyptian Girl | Dick Dale & The Del-Tones Enoch Light The Beach Boys |
Daya't Mustaqbal Hayaty | I Wasted The Future of My Life | Sayed Darwish Zakaria Ahmed Sabah Fakhri |
Dinguy, Dinguy, Dinguy | --- | Iman Bahr Darwish |
Al Hashasheen | The Hashish Smokers | Sayed Darwish Mohamed Mohsen |
El Helwa Di | The Beautiful One | Fairuz Ziad Rahbani Marcel Khalife |
Khafif Al Rouh | Lighthearted Soul | Iman Bahr Darwish Salwa Al Katrib |
Oumy Ya Misr | Wake Up Egypt | Mohamed Mohsen Sheikh Imam Abdel Halim Hafez |
Salma Ya Salama | Go And Come in Peace | Sayed Darwish Dalida Ronza Sofia Essaidi |
Al Shaytan | The Devil | Issa Ghandour |
Shed El Hezam | Fasten Your Belt | Sayed Darwish Issa Ghandour The Jets |
Tol'it Ya Mahla Nouhra | Bright Lights | Fairuz Dalida The Jets |
Ya Bahgat Al Rouh | Joy of My Soul | Sabah Fakhri |
Ya Ward Ful Wa Yasmine | Jasmine Rose | Aida el Ayoubi |
Zourouni | Visit Me Once A Year | Fairuz Ziad Rahbani |
The Sayyid Darwish Theatre was named in his honor.
Umm Kulthum was an Egyptian singer, songwriter, and film actress active from the 1920s to the 1970s. She was given the honorific title Kawkab el-Sharq. Immensely popular throughout the Middle East and beyond, Kulthum is a national icon in her native Egypt; she has been dubbed "The Voice of Egypt" and "Egypt's Fourth Pyramid". In 2023, Rolling Stone ranked Kulthum at number 61 on its list of the 200 Greatest Singers of All Time.
Vartanoush Garbis Selim, better known by her stage name Anoushka, is an Egyptian singer and actress.
Mohamed Abdel Wahab, also transliterated Mehammad Abdelwehab, Egyptian Arabic pronunciation:[mæˈħam.mædʕæbdelwæhæːb], was a prominent 20th-century Egyptian singer, actor, and composer. He is best known for his Romantic and Egyptian patriotic songs.
Wagih Aziz is an Egyptian composer and singer who has had his debut back in 1988.
Leila Mourad or Layla Morad was an Egyptian singer and actress, and one of the most prominent superstars in Egypt and the entire Arab world in her era.
Imam Mohammad Ahmad Eissa or El Sheikh Emam was a famous Egyptian composer and singer. For most of his life, he formed a duo with the famous Egyptian colloquial poet Ahmed Fouad Negm. Together, they were known for their political songs in favor of the poor and the working classes.
Bilady, Bilady, Bilady is the current Egyptian national anthem. It was written by Mohamed Younis El-Qadi and composed by Sayed Darwish. It is derived from the words of Mustafa Kamel in one of his most famous speeches in 1907, in which he said: "My Country, my Country, for you is my love and my heart. for you is my life and my existence, for you is my blood, for you is my mind and my tongue, for you is my heart and my soul, for you are life.. and there is no life except with you, O Egypt." It was officially adopted in 1979, and was redistributed by the Egyptian musician Mohamed Abdel Wahab at the direction of the President Anwar El-Sadat.
Farid al-Atrash, also spelled Farid El-Atrache, was a Syrian-Egyptian singer, oudist, composer, and actor. Although born in Syria, he immigrated to Egypt at the age of nine with his mother and siblings, where he eventually became one of the most noted figures in 20th-century Arabic music.
Dawood Hosni was an Egyptian music composer.
Sayed Mekawy was an Egyptian singer and composer, popular in Egypt and throughout the Arabic speaking world. Throughout his life, he remained undaunted by modern innovations and the attempts of rivals to produce another type of music. He was best known for his radio collaboration with Fuad Haddad on the character of the Egyptian tradition of El-Misaharati.
Baligh Hamdi was an Egyptian composer who created and composed many hit songs for several singers in the Arab world, especially during the 1960s and 1970s. He composed Warda's most famous songs, and the two got married for a long period.
"Wallāh Zamān, Yā Silāḥī" was the national anthem of the United Arab Republic (UAR), a federation of Egypt and Syria, from 1960. Though the UAR disbanded in 1961, Egypt retained it as the official name of the state until 1971, and used its national anthem until 1979. It was also used as the national anthem of Iraq from 1963 to 1981.
Hamza Namira is an Egyptian singer-songwriter and multi-instrumentalist. He has released three albums from the production of Awakening Records: Dream With Me, Insan, Esmaani; and a couple of albums from Namira production, his own foundation: Hateer Min Tany and Mawlood Sanat 80. Besides singing, for which he is mostly known, he has also worked in musical composition and arrangement. Hamza composed some of his own work, like the album heads Esmaani and Insan, along with some collaborations with other artists, like Maher Zain's song Ya Nabi Salam Alayka. He also contributed to arranging the cartoony remake Egyptian Jingle Bells, which was the first shaabi work in his repertoire, later followed by Esta3izo in his fourth studio album.
Mohamed Fawzi was an Egyptian singer-songwriter, actor, and filmmaker. He was a leading entertainer and impresario in the thriving musical film scene of Egypt in the 1940s and 1950s. He founded the El-Sharq El-Awsat record plant on April 30, 1959, and turned it into Sono Cairo /Sout El Qahira Records on January 6, 1964. Fawzi composed the music for "Kassaman", the Algerian national anthem, with lyrics by "poet of the Algerian Revolution" Moufdi Zakaria.
Nagat El-Sagheera is an Egyptian singer and actress. She retired from filming in 1976 and from singing in 2002. Nagat began her career at the age of five and retired 59 years later.
Riad Mohamed El Sunbati, also written as Riad Sonbati or Riadh Sonbati was a 20th-century Egyptian composer and musician who was considered an icon of Egyptian Music. The number of his lyric works is 539 works in Egyptian Opera, operetta, cinematic and religious song, poem, Taqtouqa and Mawalia. The number of song poets who he composed for is more than 120 poets. He composed for many famous Arab singers including Umm Kulthum, Fairouz, Asmahan, Warda Al-Jazairia, Najat Al Saghira, Mounira El Mahdeya, Fayza Ahmed, Saleh Abdel Hai, and Aziza Galal.
Atef Fahim Mohamed Montasser was an Egyptian record producer, A&R executive and the founder of Sout El-Hob Records. Montasser is credited with discovering singing talents in Egypt and the Arab world like Hany Shaker, Ahmed Adaweyah, Aziza Jalal, Mohammad Fouad, Medhat Saleh, Omar Fathi, El Masryeen, Four M and Metkal Kenawy. He is credited with bringing Algerian singer Warda to prominence.
Sout El-Hob Records is an Egyptian record label founded in 1972 by Atef Montasser. Sout El-Hob has the 4th largest Arabic music catalog in the Middle East & North Africa. It has also distributed many movies domestically and abroad under the name of “Sout El-Hob Movies." Mohsen also worked with Atef as a distributor before he set up his own company.
Fatheya Ahmed, also called Touha, was an Egyptian classical singer and actress who "carried the practice of Waslah into the 20th century". She also sang many traditional and modern melodies on Takht in the tradition of awâlim in which female entertainers perform for women-only audiences during wedding celebrations. She had a “unique mastery of the mawwal”, a traditional and popular Arabic genre of vocal music. She was known for singing poems and monologues, and sang some folk songs with Sayed Darwish, a popular Egyptian singer and composer. She sang in the 1943 film Ahlam el Shabab (1943).
Bahia Faraj Al-Awad, also known as Bahia, Bibi, and, most famously, Wedad was a Tunisian-Lebanese singer.
{{cite web}}
: |last=
has generic name (help)